CARICATURE 

..  by  Q.  Viafora 


125 

CARICATURES 

Of  Personalities 
Noted  in 

Finance,  Politics,  Art, 
Music,  Drama,  etc. 
And  Some 

Practical  Suggestions 
On  the  Execution  of 


Pen-and-ink  Satire 


99 


FOR  SALE  AT  BRENTANO' 
Fifth  Ava.  &  27th  St  N.  Y. 


CARICATU  RE 


-125 


CARICATURES  OF  PERSONALITIES   NOTED  IN  FINANCE,   POLITICS,  ART,    MUSIC,  DRAMA.  ECT. 

AND  SOME  PRACTICAL  SUGGESTIONS  ON  THE  EXECUTION  OF 
'  pen  -  AND  -  INK  SATIRE" 


To  the  Editors  of  Musical  America, 
The  New  York  Evening  Mail,  The 
New  York  World,  The  Morning  Te- 
legraph and  The  Chicago  Tribune  — 
Mr.  Viafora  wishes  to  acknowledge 
gratefully  the  permission  to  republish 
these  Caricatures. 


FOR  SALE  AT 


by 


Fifth  Avenue  and  27th  Street 
NEW  YORK  CITY 


Q.  Viafora 


One 


Copyright,  1919 
by 

G.  VI A  FOR  A 


]0m  C.  FREUAD 


Three 


Four 


CARICATURE 


HE  caricature  is  an  anarchistic  art.  It  is 
the  result  of  the  study  of  physiological 
observation,  without  rule  and  restriction. 
It  is  a  bohemian  art  that  has  no  school  or 
pre-conception.  It  is  personal  and  it  may 
be  said  that  a  caricaturist  is  born,  as  it  is  said  one  is  a 
born  poet.  Some  persons  never  having  studied  art  have 
been  able  to  create  an  art  very  interesting  to  the  mul- 
titude. 

The  caricaturist  does  not  need  to  educate  the  hand 
to  lines,  scientific,  ornamental  or  geometric.  Nor  is  it 
necessary  to  have  theories  of  shadows  or  perspective, 
because  it  would  thereby  sufifer  from  the  influence  of 
this  knowledge  and  there  would  be  a  lack  of  comic  ori- 
ginality. Instead,  there  should  be  as  few  lines  as  possible, 
strong  and  marked,  thereby  producing  an  effect  both 
spontaneous  and  original. 

It  is  not  necessary  to  sketch  an  entire  head  to  re* 
present  the  type.  It  is  enough  that  with  a  few  lines  the 
observer  know  the  person  and  so  with  few  lines  the 
caricature  will  be  a  success. 

The  caricaturist  must,  more  than  anything  else,  study 
his  subject  to  get  a  mental  photograph  of  it  and  study 
the  type  to  find  lines  that  are  marked  or  abnormal ;  study 
the  moving  expressions,  of  anger,  of  excitement,  of 
tears,  of  laughter,  etc.  Also  important  are  the  positions 
of  the  body :  being  still,  walking,  sitting,  playing  or 
dancing. 


The  caricaturist  must  before  all  else  find  the  most 
prominent  and  distinctive  physical  characteristic  of  the 
subject.  In  that,  is  the  secret  and  the  success  of  the  artist ! 

When  before  the  subject  it  is  necessary  to  observe 
the  general  lines  of  the  body,  if  slender  or  stout,  if  tall 
or  short,  if  straight  or  corpulent;  if  the  head  sets  high 
on  the  neck  or  squats  on  the  shoulders,  remembering  m 
what  shape  it  may  be  formed  if  in  a  circle,  in  a  triangle, 
rectangle,  or  else  if  it  has  the  form  of  a  lemon  or  an  egg, 
etc.  Observe  the  brow,  high  or  low ;  the  eyebrows  if 
strong,  if  light  or  meeting;  the  nose  if  fleshy  or  slender, 
pointed  like  a  bird  or  flattened  like  a  bull  dog,  if  the 
nostrils  are  wide  or  narrow ;  the  eyes  if  bulging  or  set 
deep,  large  or  small,  vivacious,  somnolent  or  frightened ; 
the  mustache  and  its  form ;  the  hair  and  beard,  if  plentiful, 
exaggerate  the  quantity,  if  scarce,  reducing  the  quantity 
to  a  minimum.  Observe  the  lines  of  the  mouth,  if  fleshy 
or  thin  lipped  or  indrawn,  or  one  lip  protuding  more 
than  the  other ;  the  lines  at  the  comers  of  the  mouth 
and  at  the  sides  of  the  nose  and  at  the  comers  of  the 
eyes. 

The  chin  may  be  short,  long,  round,  square,  or 
pointed,  with  or  without  a  double  chin.  The  teeth  may  be 
prominent  or  showing  between  the  lips.  Are  the  arms 
long  or  short;  hands,  thin,  rounded  or  knuckled?  Are 
the  legs  slender  or  stout,  long  or  short  or  curved  inward 
or  outward?  Are  the  feet  large  or  small?  Observe  the 
style  of  dress  worn;  the  mode  of  walking;  if  a  walking 


Five 


stick  is  used  and  how  cigar  or  cigarette  is  placed  in  the 
mouth. 

Of  all  these  observations,  made  swifty,  it  is  only 
necessary  to  retain  those  that  have  struck  the  eye  for 
their  strange  form  or  exaggeration.  It  is  necessary  to 
remember  these  and  use  them  to  practical  purpose  in 
making  the  sketch.  When  sketching,  the  observations 
must  pass  as  before  an  enlarging  lens,  but,  not  in  pro- 
portion, only  enlarging  the  parts  abnormal  or  character- 
istic of  the  type. 

As  was  said  in  the  beginning,  caricaturing  is  not 
taught,  but  it  is  given  to  certain  individuals  who  have 
the  gift  to  perceive  in  people  the  comic  side  or  the  grotes- 
que, giving  with  a  few  lines  an  expression  true  and 
natural. 

In  the  brief  scope  of  this  booklet  I  make  no  pretense 
of  creating  either  a  school  or  a  caricaturist,  although  if 
the  person  be  inclined  to  this  branch  of  art,  the  rules 
I  suggest  may  be  of  value,  for  they  are  the  fruits  of  years 
of  observation  and  practise. 

The  caricature  has  a  method  of  its  own.  There  have 
never  been  two  caricaturists  whose  style  have  been  ident- 
ical. 

To  be  a  good  caricaturist  it  is  necessary  to  train  the 
eyes  and  the  mind  to  retain  a  visualization  of  the  sub- 
ject. It  is  necessary  to  memorize  the  lines  most  pro- 
minent and  strange  in  the  individual.  This  is  obtained 
by  practise,  observation  and  study  of  the  different  types 
one  meets  daily  in  the  railroad  trains,  in  cars,  the  sub- 
way, the  clubs,  the  theatres,  soirees,  on  the  streets,  etc. 
This  constitutes  an  exercise  of  the  mind  and  of  the 
eyes  that  if  continued  will  result  in  the  memorizing  of 
lines  and  expressions  of  human  beings  and  also  of 
anmals,  that  may  be  placed  on  paper,  the  same  as  one 
would  memorize  a  speech,  a  poem,  etc. 


Another  system  of  memorizing  types  is  to  find  a  si- 
milarity to  an  object  easily  remembered.  An  example 
will  explain  the  system  better.  We  will  take  a  type  to 
caricature,  for  example,  the  celebrated  tenor  Caruso. 
The  first  thing  that  will  strike  the  eye  is  the  aspect  of 
the  body,  broad  shouldered,  head  set  low  on  his  shoulders. 
The  form  of  the  head  may  resemble  the  shape  of  an  egg. 
Eyes  and  eye-brows  united  to  form  two  curved  wings 
spread  to  the  wind ;  nose  short  and  fleshy  that  gives  an 
idea  of  a  peanut;  mouth,  a  line  without  lips;  chin  round 
'ike  a  button  with  a  hole  in  the  centre ;  cheeks  curved, 
given  with  two  lines  starting  from  the  nose;  little  hair 
and  smooth  (See  Fig.  i). 

The  caricaturist  may  also  be  a  cartoonist,  but  many 
cartoonists  are  incapable  of  sketching  a  caricature.  The 
true  caricaturist  never  signifies  by  name  the  type  he 
caricatures  when  the  person  is  noted  or  well  known. 
The  friends  of  the  caricatured  must  readly  recognize 
their  friend  in  the  caricature.  If  the  type  without  bear- 
ing a  caption  is  not  easily  recognized,  then  the  caricature 
is  a  failure.  In  the  caricature,  it  is  not  enough  to  mark 
the  lines  of  the  type  to  be  caricatured.  The  caricature 
must  have  the  expression,  the  character  and  vitality  of 
the  subject,  or  else,  the  so  called  caricature,  means 
nothing. 

When  the  subject  has  regular  features,  it  is  advisable 
to  sketch  the  profile,  because  it  is  then  easier  to  find  some 
characteristic  to  follow,  as,  the  head  protuding  forward 
or  reversed,  to  the  back,  or  with  chin  sunken  in  the 
breast,  etc.  Generally  the  profile  caricature  is  easier  than 
the  full  face,  when  the  subject  does  not  lend  itself  easily 
to  caricature. 

In  the  exaggeration  of  pronounced  features,  so  ne- 
cessary to  a  characteristic  caricature,  the  artist  must 
avoid  as  far  as  possible  any  effect  that  is  essentially 


cruel  or  offensive.  Herein  lies  the  subtlety  of  caricatur- 
ing. Experience  has  demonstrated  that  a  large  nose,  or 
a  large  mouth,  for  instance,  may  be  emphasized  without 
subjecting  the  person  depicted  to  ridicule.  But  this  can 
be  accomplished  only  by  a  deft  use  of  the  pen  and  by 
the  skilful  expression  of  good  humor  and  geniality  in 
the  whole  effect. 

A  good  caricature,  even  though  it  may  be  bizarre  in 
its  outlines  should  never  give  offense  either  to  the  reader 
or  to  the  subject. 

PRINCIPAL  BASIS  OF  EXPRESSION 
Eyes: 

Eyes  that  smile  are  always  half  closed,  in  which  the 
pupil  is  not  shown.  (See  fig.  2). 

Eyes  expressing  wonder,  indifference  or  idiocy,  are 
shown  with  the  pupil  isolated  in  the  centre.  (See  fig.  3). 

Eyes  expressing  sentiment  or  prayer,  the  pupil  is  half 
covered  by  upper  eyelid.  (See  fig.  4). 

Eyes  expressing  anger  or  terror,  the  pupil  is  shown 
half  covered  by  the  lower  eyelid.  (See  fig.  5). 

The  mouth: 

The  mouth  smiling  is  given  by  a  line  curving  upward ; 
or  also  two  curved  lines  united  at  the  extremities  and 
showing  teeth ;  or  the  lines  may  both  curve  upward 
showing  the  teeth  and  hollow  of  the  mouth.  (See  fig.  2). 

The  mouth  showing  sorrow  or  crying  is  expressed  by 
a  line  curving  downward.  (See  fig.  4). 

The  mouth  in  anger,  is  given  by  lines  curving  down- 
ward and  joined  at  the  extremities,  and  showing  teeth, 
having  lower  teeth  more  in  evidence,  with  or  without 
showing  hollow  of  the  mouth.  (Fig.  5). 


The  mouth  showing  surprise  or  idiocy,  is  made  by 
an  aperture  in  the  form  of  an  oval,  that  goes  from  the 
nose  to  the  chin  and  never  open  at  the  side.  (See  fig.  3). 

Eyebrows: 

The  eyebrows  in  expression  follow  the  direction  of 
the  pupil. 

Showing  prayer  or  sorrow  the  eyebrows  go  upward. 
(Fig.  4)- 

Showing  anger,  they  go  downward  in  the  shape  of 
V.  (Fig.  5). 

In  eyes  that  laugh  the  eyebrows  go  curving  on  the 
upper  eyelid.  (Fig.  2). 

Cases  where  the  face  is  devoid  of  marked  expression, 
the  eyebrows  follow  in  the  natural  position. 

Cheeks: 

The  lines  of  the  cheeks  always  go  upward  when 
laughing.  (Fig.  2). 


They  go  downward,  falling,  in  expression  of  anger. 
(Fig.  5).  These  lines  always  start  from  the  side  of  the 
nose. 

In  addition  to  these  lines,  there  are  others  of  great 
importance ;  the  lines  and  furrows  of  the  face.  These  must 
never  be  forgotten  (Fig.  6).  Sometimes  the  caricatures 
are  executed  in  allegorical  mode,  likening  persons  to 
animals.  For  example,  the  canine  face  that  resembles 
a  bull  dog,  or  the  head  of  a  bird  when  there  is  in  front 
a  long  acquiline  nose.  (Fig.  7). 

These  originalities  are  part  of  the  skill  of  the  artist, 
that  is  not  known  and  cannot  be  taught. 

The  caricature  may  be  finished  in  color,  but  the  color 
must  be  put  on  flat.  Try  to  exaggerate  the  color  so  that 
a  pallid  face  is  represented  as  more  pallid,  or  if  a  face 
is  red,  exaggerate  with  red. 

Also,  the  caricature  may  bear  a  phrase  or  expression 
.that  is  typical  of  the  person,  and  has  made  him  popular. 

G.  V. 


Nine 


Comm.  ROMOLO  TRITON  J.  - 
Italian  Royal  Consul  Ceneral  in  N. 
Y.,  has  already  won  the  sympathy 
of  the  Italian  Colony.  Consul  Tri- 
tonj  is  sketched  in  his  happy  mood 
on  the  day  of  the  (ilorious  Italian 
\  ictory  on  the  Piave. 


Hon-.  Judgi:  Ciii.v.  JOIIX  FRE 
SCHI  —  A  brilliant  judge  who  is 
riding  to  Glory  on  the  back  of  Tam- 
many's Tiger. 

Tern 


Comm.  LUIGI  SOLARI— Born  in 
Genoa.  Called  "the  Friend  of  Every- 
body". Popular  personality  in  New 
York  and  President  of  most  of  the 
Italian  Political,  social  and  com- 
mercial institutions  in  Manhattan. 


VlTTORIO 


PRor.  ORESTE  FERRARA  — 
The  most  popular  of  Cubans,  is  an 
Italian ;  Orator,  lawyer,  author  and 
former  head  of  Cuba's  Chamber  of 
Deputy,  he  is  divided  from  the  Pre- 
sidency of  Cuba  by  merely  a  clause 
in  the  Constitution. 


HON- JuD6 

R*i(>.TovJ  5.  Weeks 


Hon.  Judge  BARTOW  S.  WEEKS 
— A  Judge  who  tempers  Mercy  with 
Justice  and  who  also  has  the  hu- 
manness  to  be  a  popular  clubman 
and  sportsman. 


Hon.  JOHN  HYLAN— Mayor  of 
New  York,  who  has  hardly  found 
the  mayoralty  seat  what  may  be 
called  an  easy  chaii*. 


WHfM  tlOtS  THIS  PlCTUI^t.  5PE.LL  ? 


H.  P.  DAVISON— The  Generalis- 
simo of  that  American  Army  of 
Mercy  which  carries  as  its  standard, 
the  Red  Cross. 


HENRY  EVANS  —  President  of 
the  Continental  Insurance  Co.  and 
many  other  fire  Insurance  Companies 
He  is  said  to  have  so  much  cash  at 
his  disposal  that  no  fires  (not  even 
Hell-fires)   terrify  him. 


Eleven 


DANIEL  FROHMAN  —  Con- 
noiseur  of  good  drama,  fine  movies 
and  feminine  graces. 


THOMAS  A.  EDISON— The  great- 
est inventor  of  the  age.  began  his 
experiments  at  the  age  of  six,  when 
he  was  found  sitting  on  some  goose 
eggs  trying  to  hatch  them.  His  mo- 
ther carried  him  off,  otherwise  he 
probably  would  have  found  a  way. 


ALEXANDER  GRAHAM  BELL 
—  Inventor  of  the  telephone,  who 
is  also  responsible  for  the  horrors 
we  experience  when  we  are  awak- 
ened from  a  sound  slumber  to  hear 
a  sweet,  feminine  voice  say  "wrong 
number,  excuse  it,  please". 


KUNZ  —  Manager  of  Tiffany's 
whose  keen  eye  discovered  a  new 
gem  and  named  it  Kunzite. 


FAVERSHAM  —  Noted  actor 
and  matinee  idol,  par  excellence ; 
also  famous  husband  of  famous 
Julie  0pp. 


((uN2.irE: 


FORD  —  Who  each  day  manufac- 
tures 1000  automobiles  of  the  vest- 
pocket  variety.  On  the  subject  of 
ships,  he  is  less  of  an  authority, 
having  learned  in  1015  that  no  boat, 
even  though  manned  by  pacifists  and 
piloted  by  a  cooing  peace  dove,  could 
sail  into  trenches. 


Twelve 


WILLIAM  J.  BRYAN  —  Who  be- 
gan his  career  with  "free  silver"  and 
whose  constant  defeats  drove  him 
to  —  grape-juice. 


CARDINAL  GIBBONS— A  kindly 
prelate,  bestowing  his  benediction  on 
the  world,  and  educating  it  with  ec- 
clesiastical theses. 


Gov.  SMITH  —  Having  achieved 
his  office  by  a  hair,  this  governor 
has  immediately  strengthened  his 
position  by  seizing  the  scalps  of  po- 
litical offenders. 


REG.  VANDERBILT  —  Whose 
one  ambition  in  Hfe  is  to  match  Pe- 
gasus against  his  own  blooded  steeds. 


The  late  THEODORE  ROOSE- 
VELT, president,  scientist,  soldier, 
big-game  hunter  and  rough-rider  but 
above  all,  one  of  the  most  vital  world 
characters  of  the  century. 


DAVID  BELASCO  —  Playright 
manager,  and  an  antique  collector, 
who  first  saw  the  great  dramatic 
value  of  Details. 


Thirteen 


CHARLES  M.  SCHWAB -By  Viafora    J.P.MORGAN       -ByViafora     H£NRY  CLEWS      -By  Viatora 


SCHWAB  —  Steel  magnate  who 
lent  his  genius  to  the  government 
in  carrying  on  our  shipbuilding  pro- 
gram. 


MORGAN  —  If  money  really 
talked.  Mr.  Morgan  would  be  deaf- 
ened by  the  constant  babel  around 
him.  For  he  is  one  of  the  world's 
richest  men. 


CLEWS  —  Wall  street  banker 
who  put  the  "Land  of  the  Rising 
Sun"  on  its  financial  feet. 


THEODORE  SHOXTS  —  Presi- 
dent of  the  Interboro,  who  through 
philosophic  editorials  is  striving  to 
make  "Strap  Hanging"  one  of  the 
pleasures  of  life. 


CHARLES  F.  MURPHY  — Poli- 
tician noted  for  his  possession  of  a 
pet  Tiger,  once  a  sleek  animal  but 
now  losing  its  teeth. 


HERBERT  HOOVER  —  Who 
turned  from  Engineering  to  reducing 
the  people's  appetite  in  order  to  make 
the  World  a  safe  place  to  eat  in. 


(^FRoiv  Ev/E  Mail) 
CHARLE^        MURPHY  -  By  Vlafora 


HERBERT  C.  HOOVER  -BvViafor. 


THEODORE  SHONTS  -By  Viaforal 


ourteen 


CIIt  je  (^hxmc^^f  ^uutraw  ^rxhxoxe^ 

f  PART  SEVEN  /  >i*?  /tJlY  21.  llUt:  SPECIAL  FEATURES 


HUGO  REISENFELD  —  The 
Oscar  Hammerstein  of  the  Movies. 


Look  Plcasamt  !   PciTAiE  f 

MISHKIN  —  Photographer  and 
great  camouflage  artist,  whose  ge- 
nius lies  in  hiding  mole,  freckle,  and 
glass  eyes.  Unlike  the  cartoonist  who 
exaggerates  faults,  Mishkin  eradi- 
cates them. 


NAHAN  FRANKO.  —  Violinist, 
conductor ;  his  first  honors  were 
showered  upon  him  at  the  age  of 
eight  when  he  toured  with  Patti ; 
his  last,  recently  when  he  was  made 
an  honorary  captain  of  the  New  York 
Police  Force. 


HIRSCH  —  Rabbi  of  Sinay  Temple  in  Chicago;  first  vice-president 
of  the  Jewish  Historical  Society  of  Illinois,  and  Professor  of  Semitics 
in  the  University  of  Chicago.  He  isan  orator,  noted  for  his  free-thought, 
yet  ever  staunch  as  a  Jew. 


Fiftttn 


A  Pair  of  Portraits  of  Mascagni! 

Hfiii"9  nn  aatoiinding  caricature  of  Pletro  Masi'agni.  drawn  by  Viafora.  the  ■faflious  artiste  for 
tlip  iMetropolitan  Section    Hold  it  close  to  you  and  eee  liow  the  composer's  features  are  ruacle  up 
nl  a  picture  of  himself,  full  figure,  in  the  act  of  directing  an  orchestra.    And  in  the  hair  is  hidden  ' 
a  picture  of  Ysobel  in  the  most  Btriiiing  scene  of  ihls  new  operA  of  that  name.    Hold  at  a  distance 
ihfsa  tricky  touches  are  not  apoarent. 


RICHARD  ORDYXSKI  —  Stage 
Director.  One  of  the  big  men  Behind 
the  Guns  at  the  Metropolitan. 


The  firms  of  "Ricordi" 
and  "Schirmer"  glare  at 
each  other  on  Forty- 
third  street ;  and  here 
are  George  Maxwell, 
manager  of  the  former, 
and  Rudolph  Schirmer 
freezing  each  other  out. 
Can  it  be  that  Mr  Schir- 
mer is  intoning  "Thy 
menaces  wild"  from 
"Forza  del  Destino"? 


Sixteen 


CHARLES  WAKEFIELD  CAD- 
MAN  —  American  composer,  one 
of  the  pioneers  in  the  utilization  of 
the  Indian  theme  as  a  basis  of  se- 
rious musical  works. 


VICTOR  HERBERT  —  Distin- 
guished as  conductor  and  composer 
enjoys  a  national  popularity.  Never 
loses  an  opportunity  to  berate  the 
critics,  which  doesn't  hurt  them  the 
makes  him  feel  better. 


GIACOMO  PUCCINI— One  of  the 
most  successful  and  popular  of  mo- 
dern composers.  His  particular  am- 
bition, however,  is  to  win  fame  as 
a  hunter  of  game. 


REGINALD  DE  KOVEN  —  The 
American  Composer,  in  whose  cap, 
"Robin  Hood"  put  the  first  feather. 
He  is  now  aiding  American  Com- 
posers through  the  columns  of  the 
New  York  Herald,  and  Rumor  has 
it,  that  in  response  to  Campanini's 
"Oh  Promise  Me",  we  are  soon  to 
have  a  new  opera  flavoring  of  a 
famous  Barrie  play. 


H.  T.  BURLEIGH— Noted  colored 
composer.  His  songs  are  being  sung 
by  the  most  distinguished  Artists. 


RUGGIERO  LEONCAVALLO  — 
Who  dreams  and  dreams  of  produc- 
ing another  opera  as  good  as  "Pa- 
gliacci". 


Seventeea 


pad:;revvski 


ETHEL  LEGINSKA  —  Whose  in- 
dividual piano  playing  and  unique 
ideas  regarding  concert  costumes 
have  brought  her  fame  and  favor. 


IGNACE  PADEREWSKI  — Who 
lold  dolls  to  raise  money  for  his 
ttarving  fellow  contrymen  in  Poland 
—  greatest  pianist  who  ever  became 
President  of  a  republic. 


LEO  ORNSTEIN  —  Regarded 
by  some  as  a  musical  Freak,  but 
esteemed  by  those  who  know  him 
as  a  genius ! 


H.  BAUER — Now  recognized  as  one 
of  leading  piano  virtuosi,  it  makes 
small  difference  to  him  whether  he 
plays  a  Steinway  or  a  Stradivarius ; 
for  before  beginning  his  career  as 
a  pianist  he  enjoyed  the  distinction 
of  being  a  splendid  violinist. 


LEOPOLD  GODOWSKY— Virtuo- 
so and  educator.  His  technique  is 
"Kolossal".  When  he  wants  to  com- 
pose he  disappears. 


ALEXANDER  LAMBERT— Noted 
pianist  and  pedagogue.  His  presence 
is  indispensable  to  the  success  of  all 
musical  and  theatrical  premieres  in 
New  York  City. 


&  Au£ls 


teen 


EFREM  ZIMBALIST  —  Who 
played  the  "Last  Rose  of  Sumer" 
(mit  variations)  at  his  New  York 
recital. 


MISCHA  ELMAN  — The  Russian 
violinist.  His  ambition,  sustained  by 
a  superb  self-confidence,  is  to  be 
able  some  day  to  compose  as  well  as 
he  can  fiddle. 


ALBERT  SPALDING— The  distin- 
guished American  violin  virtuoso,  is 
shown  as  saying :  Well,  I  got  there, 
after  all,  didn't  I?  My  time  is  all 
filled  for  the  season. 


EUGENE  YSAYE— The  Illustrious 
Belgian  violinist  who  has  worked 
nobly  in  the  cause  of  the  Belgian 
Relief  Fund. 


LEOPOLD  AUER— The  progenitor 
of  a  large  progeny  of  violin  vir- 
tuosi. — 


JASCHA  HEIFETZ— The  Russian 
violinist  whose  playing  has  been  one 
of  the  sensational  features  of  the 
present  season. 


Ninetttn 


CLEOFONTE  CAMPANINI  — 
General  Director  of  the  Chicago  O- 
pera  Co. ;  a  veteran  in  the  musical 
and  operatic  world,  considered  by 
many  to  be  a  perfect  Machiavelli  of 
diplomacy. 


GIORGIO  POLACCO  —  Famous 
conductor,  who  began  wielding  the 
baton  when  a  mere  infant,  and  who 
has  since  been  offered  some  of  the 
ripest  "conductorial"  plums. 


ARTURO  TOSCANINI 
Maestro. 


GENNARO  PAPI— Conductor  of 
the  Metropolitan  Opera  Co.,  who 
has  won  golden  opinions  regarding 
his  work,  especially  from  the  mem- 
bers of  the  company. 


PIERRE  MONTEAUX— Distin- 
guished French  conductor ;  came 
from  the  trenches  to  direct  the  Rus- 
sian Ballet  in  America;  now  is  con- 
ductor of  French  Opera  at  the  Metro- 
politan. 


ROBERTO  MORANZONI  —  The 
Metropolitan's  Italian  Conductor, 
fast  winning  popularity  among  New 
York  operagoers. 


LINA  CAVALIERI— Distinguished 
for  her  beauty,  her  wit  and  her  abi- 
lity as  a  prima  donna. 


Gianni  Viafora  undertakes  the 
hazardous  task  of  Cartooning  his 
wife  Mrs.  Gina  Viafora,  profes- 
sionally known  as  GINA  CIAPA- 
RELLI  VIAFORA.  Strong  men 
have  been  shot  for  lessl 


A.  DE  SEGUROLA— Operatic  star, 
•  rator,  society  figure,  dancer,  and 
business  man :  a  versatile  Factotum, 
who  may  be  identified  by  is  mo- 
nocle. 


GERALDINE  FARRAR  as  "Car- 
men". You  will  notice  that  she  has 
one  eye  on  the  audience. 


AMELITA  GALLI-CURCI  —  As 
"Violetta"  in  "La  Traviata".  Re- 
markable Italian  soprano.  Whenever 
her  name  is  announced  for  a  per- 
formance with  the  Chicago  Opera 
Company  the  "Standing  Room  Only" 
Sign  is  hung  up. 


GIUSEPPE  BAMBOSCHEK  — 
The  ever-lively  Bamb — ino  of  the 
Metropolitan,  and  assistant-conduc- 
tor there.  His  wonderful  accompa- 
niments have  cast  a  glamor  over 
the  singing  of  many  an  artist. 


BAMBOSCHEK 


MARIA  BARRIENTOS  —  In  the 
Mad  Scene  of  "Lucia".  Her  press 
agent  has  already  created  the  Bar- 
rientos  Spanish  Omelet. 


Mme.  ERNESTINE  SCHUMANN 
HEINK  —  Whose  whole-hearted  and 
intense  human  personality  and  su- 
perb vocal  art  have  endeared  her  to 
American  music-lovers.  May  her 
shadow  never  grow  less ! 


ROSA  RAISA— Dramatic  soprano 
of  the  Chicago  Opera  Association 
and  one  of  the  particularly  bright 
stars  of  Mr.  Campanini's  New  York 
season. 


NELLIE  iMELBA  —  Singing  the 
"King  of  Thule"  Ballade  in  "Faust". 


CLAUDIA  MUZIO  —  The  young 
Italian  prima  donna  who  is  one  of 
the  foremost  stars  of  the  Metropoli- 
tan Opera  House. 


EMMY  DESTINN— World-famed 
operatic  and  concert  artist  as 
"Minnie"  in  Puccini's  "Girl  of  the 
Golden  West". 


Twenty-lwo 


LEON  ROTHIER  —  A  soldier  of 
France,  and  basso  of  the  Metropo- 
litan Opera  Company. 


GIULIO  SETTI  —  As  there  is  a 
man  behind  the  gun,  so  there  is  a 
man  behind  the  chorus  of  the  Me- 
tropolitan. He  is  considered  the 
greatest  "maestro"  of  operatic  cho- 
ral work  in  the  world. 


OSCAR  HAMMERSTEIN  —  The 
unsolved  Riddle  of  the  Musical 
World. 


FRANCES  ALDA  — The  Austra- 
lian prima  donna  known  by  her  extra- 
ordinary versatility.  She  has  ap- 
peared in,  and  created  a  number  of 
wholly  different  roles. 


FERNANDO  CARPI  —  Young 
Italian  lyric  tenor.  Enjoys  the  unique 
distinction  of  having  sung  with  the 
Metropolitan,  Chicago  and  Bracale 
Opera  Companies  within  one  year. 


LUIGI  MONTESANTO  —  The 
handsome  new  baritone  of  the  Me- 
tropolitan. His  artistic  success  was 
made  when  he  sang  the  leading  role 
in  Puccini's  "II  Tabarro". 


ANNA  CASE  —  Soprano  of  the 
Metropolitan  Opera  Co.  One  of  the 
best  known  concert  singers  in  the 
United  States. 


Twenty-thr*e 


LUCIEN  MURATORE  —  The 
French  tenor,  who  is  one  of  the  lead- 
ing opera  singers  in  this  country.  So- 
cially he  is  known  as  Lina  Caval- 
ieri's  husband. 


The  Great  CARUS'  walks  down 
Fifth  Avenue. 


GIOVANNI  MARTINELU  — As 
"Cavaradossi"  in  "Tosca"  has  won 
great  favor.  He  looks  fierce,  but 
has  a  most  amiable  disposition. 


GIULIO  CRIMI  —  Noted  Italian 
Tenor,  formerly  with  Chicago  Opera 
Co.,  now  one  of  the  leading  tenors 
of  the  Metropolitan  Opera  Co. 


VICTOR  MAUREL  —  Creator  of 
"Falstaff",  "Jago",  "Tonio",  and 
other  roles.  The  giant  in  comparision 
with  that  present  day  singers. 


GIULIO  GATTI-CASAZZA— Di- 
rector of  the  Metropolitan  Opera 
Company,  acknowledges  the  receipt 
of  a  new  contract. 


(From  Musical  America) 


V.  MAUKEL 


•enty-four 


RICCARDO  STRACCIARI.  — 
Eminent  Italian  operatic  baritone. 
After  ten  years  he  has  returned  to 
America  with  the  Chicago  Opera  Co., 
bringing  triumphs  from  all  over  the 
world. 


ANTONIO  SCOTTI  (as  Scarpia) 
who  enjoys  a  world  wide  reputation 
as  an  artist.  He  celebrates  his  recur- 
ring birthdays  in  strict  seclusion 
with  a  few  devoted  friends  who  are 
first  solemnly  pledged  to  secrecy  as 
to  his  age. 


GIUSEPPE  DE  LUCA— The  most 
prodigal  and  versatile  baritone  of 
Signor  Gatti's  staff. 


PASQUALE  AMATO  —  Popular 
baritone  of  the  Metropolitan  Opera 
Coj,  as  "Napoleon"  in  Giordano's 
"Mme.  Sans  Gene"  a  role  in  which 
he  has  distinguished  himself  as 
much  as  an  actor  as  he  has  always 
distinguished  himself  as  a  singer. 


WILLIAM  GUARD— The  versatile 
and  universally  popular  press  repre- 
sentative of  the  Metropolitan  Opera 
Co.  As  his  appearance  indicates  he 
is  a  cubist. 


ADAMO  DIDUR  —  Polish  bass 
baritone  of  the  Metropolitan  Opera 
House,  sprang  into  prominence  as 
creator  of  "Boris  GodounofT".  Noted 
also  for  sartorial  effulgence. 


Twenty-fhft 


HOFMANN— One  of  the  greatest 
pianists  who  ever  lived;  accused  by 
some  of  having  for  his  pseudonym 
the  name  of  "Michel  Dvorsky". 


Dr.  cole,  Physician  and  prolific 
versifier,  who  would  cure  his  pa- 
tients with  the  Balm  of  Poetry. 


LAZARO  —  As  "Danielo"  in  "La 
Reine  Fiammette".  A  new  tenor  at 
the  Metropolitan  who  comes  from  the 
Land  of  Castanets. 


DOLCI  —  This  is  not  a  case  of 
"Dolce  far  niente",  for  Mr.  Dolci 
has  worked  his  way  up  into  a  bright 
spot  in  the  musical  limelight  as  tenor 
of  the  Chicago  Opera  Co. 


RIMINI  —  Began  life  as  an  arti- 
san and  is  now  become  a  great  artist. 


RICCARDO  MARTIN  —  One  of 
the  most  popular  of  American  sin- 
gers, who  in  his  leisure  moments 
composes  a  song  or  two. 


r 


L'cnty-six 


Seeing  the  Senate. 


Viafora 


■6cnr.«or  CliarlcB  Curtis,  Senator  William  E.  Borah, 

of  Kansas.  Idaho. 


Senator  J.  E.  Rainsiiell, 
of  liouislana. 


Senator  V'ardaman, 
of  Mississippi. 


Senator  Kellogg:, 
ot  Minnesota. 


Cfhom.  Eve  .  MAiLj 


(FKOM  Eyt.  M^'LJ 


Ttvcnty-sevem 


SENATOR  THOMAS  P.  GORE 
of  Oklahoma. 


Stualiii-  K.y  I'iiliimn 
of  No-.aiia. 


Senator  Hfnry  Cabot  LoUcc,  of       S«Tuitor  J.   Sliarp  Williams, 
Sfnatcr  Smoot,  of  Vtali.  3f assachusetts.  of  MissiHsipiil. 


SENATOR  OVERMAN,  SENATOR  A.  J.  GRONNA,    SENATOR  GEO.  E.  CHAMBECLAai. 

of  North   Carolina.  of  North  Dakota.  «t  OroKon. 


(FRO(v^^  Eve  .  M  A'lJ 


SENATOR  DL'NCAN  V.  FLETt  HEB, 
of  Klorida. 


From  Eve  Mail) 


Twenty-eight 


INDEX 


A  Ida.   Frances   '.                 Page  23 

Amato,  P   "  25 

Auer,  L  -   "  19 

Bamboschek,  G   "  21 

Barrientos,  Maria    "  22 

Bauer,  H                                          '  "  18 

Belasco,  D   "  13 

Bell,  Graham  A   "  12 

Borah,  W.  E   "  27 

Burleigh,  H.  T   "  17 

Bryan,  W.  J   "  13 

Cadman,  C.  W   "  17 

Calder,  W   "  27 

Campanini,  C   "  20 

Caruso,  E   "  24 

Case,  Anna    "  23 

Carpi  F   "  23 

Cavalieri,  Lina    "  21 

Chamberlain,  G.  E   "  28 

Ciaparelli,  Gina    "  21 

Clews,  H   "  14 

Cole,  DH   "  26 

Crimi,  G   "  24 

Curtis,  C   "  27 

Davison,  H.  P   "  n 

De  Koven,  Rj.    "  17 

De  Luca,    "  25 

De  Segurola,  A.    "  21 

Destinn,  Emmy    "  22 

Didur,  A   "  25 

Dolci,  A   "  26 

Edison,  T.  A   "  12 

Elman,  M   "  19 

Evans,  Hi   "  u 

Farrar,  Geraldine    "  21 

Faverscham,  W   "  12 

Franko,  N   "  15 

Ferrara,  O   "  10 

Fletcher,  D.  U   "  28 

Ford,  H   12 

Freund,  J.  C   "  3 


Freschi,  J  ,                         Page  10 

Frohmaii,  D   "  12 

Ga'li-Curci,  A   "  21 

Gatti-Casazza,  G   "  24 

Gibbons,  J   "  13 

Godowsky,  L   "  18 

Gore,  T.  R   "  28 

Gronra,  A.  J   "  28 

Guard,  W.  J   "  25 

Hammerstein,    O   "  23 

Heifetz,  J   "  19 

Herbert,  V   "  17 

Hirsch.  E.  G   "  15 

Hofmann,  J   "  26 

Hoover,  H.   C   "  14 

Husting.  P.  O   "  27 

Hylan,  J   "  11 

Johnson,  H   "  28 

Kellogg    "  27 

Knox,  P.  C   "  28 

Kunz,  Dr.    "  12 

Lambert,  A   "  18 

Lazaro,  H   "  26 

Leginska.  E   "  18 

Leoncavallo.  R   "  17 

Lewis,  J.  H   "  27 

Lodge,  H.  C   "  28 

Marshall,  J   "  27 

Martin,  R   "  26 

Martine'li,  G   "  24 

Mascagni,  P   "  16 

Maurel,  V   "  24 

Maxwell,  G   "  16 

Melba,  Nellie    "  23 

Mishkin    "  15 

Monteaux.  P   "  20 

Montesanto.  L   "  23 

Moranzoni.  R   "  20 

Morgan.  J.  P   "  14 

Muratore.  L   "  24 

Murphy,  Ch.  P   "  14 


Muzio,  Claudia                                    Page  22 

Ordynsky,  R   "  16 

Ornstein,  L   "  18 

Overman    "  28 

Paderewski,  I   "  17 

Papi,  G   "  20 

Polacco,  G   "  20 

Pomerene    "  27 

Puccini.  G   "  17 

Pittman,  K   "  28 

Raisa,  Rosa    "  22 

Ramsdell,  J.  E   "  27 

Reinsenfeld,  U   "  15 

Rimini,  G   "  26 

Rockefeller,  J.  D   "  9 

Roosevelt    "  13 

Rothier,  Lv    "  23 

Saulsbury,  W   "  28 

Schumann-Heink    "  22 

Schwab,  C.  M   "  14 

Scotti,  A   "  25 

Setti,   G   "  23 

Schirmer,  R   "  16 

Shonts,  T   "  14 

:Smith,  J   "  13 

Smooth    "  28 

Solari,  L   "  10 

Spalding,  A   "  19 

Stracciari,  R   "  25 

Taft,  W.  H   "  II 

Toscanini,  A   "  20 

Tritonj,  R   "  10 

Vanderbilt,  R   "  13 

Vardaman    "  27 

Viafora,  G   "  S 

Vittorio....So    "  10 

Weeks,  B.  S   "  " 

William,  J.  S   "  28 

Wilson  (front  cover) 

Ysaye,  E   "  19 

Zimbalist,  E   "  19 


Twenty-»im* 


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